GV 
1783 

1916 


NATURE  DANCING 

THE  POETRY  OF  MOTION 


"^'T^lid^tati^ktm 


BY 


NEW    YORK 


^^GhH^^m^^^^^Ehh^vII^H 

BM 

^^^^^^^^^H  ''^^^^^^^^^^^I^^^^^V^^^^^^^^I 

EX                 U          1           B           R           1           s 

SHARRON  KERR 

NATURE       DANCING 

A  Teyt-book  to  Perjcct  Natural  Movement 


CONTENTS 


]^\  ,' 


a  SLOW  RYTHMIC  WALK  WITH    7  POSITIONS 

h  SWIFT  WALKING 

c  RUNNING  PRACTICE 

d  EXERCISES  FOR  POISE 

f     DIFFERENT  METHODS  OF    SPRINGING    AND 
LEAPING 

I    THE  GREEK  PIVOT 

.(■     POSES  AND   DRAMATIC  POSES 

h    NATURE  INTERPRETATIVE  STUDIES 

(IN  ARGADY.)       o  Morning.       h  The  Brook. 
c  Marguerites.  li  Butterflies       e  Evening. 

.     SIMPLE     EXERCISES     FOR     GREEK     BALL 
THROWING 


PREFACE 
Simplicity   ::    Grace   ::   Expression 

This  charming  work,  dedicated  by  Mile.  Serova,  to  the  teachers  of  America, 
is  the  latest  and  perhaps  the  simplest  thin^  in  dancing.  Its  secret  is. "Be  Natural" — 
but,  be  natural  with  a  definite  meaning,  definite  movements,  and  clearly  reni'er- 
ed  interpretations.  There  has  been  much  so-called  Nature  Dancing,  but  this  is  the 
first  time  it  has  been  offered  to  the  public  on  a  clear,  definite  and  classified  basis. 
It  is  founded  on  the  ancient  Greek  method,  yet  it  lays  no  claim  to  being  Greek,  al- 
though many  Grecian  poses  and  attitudes  are  used  throughout  the  exercises  and 
studies.  Particularly  adapted  for  teachers'  work  with  children— its  keynote  is 
simplicity  arid  perfect  movement. 

Extract  from  The  Boston  Fost,  Sunday,  Oct.  8,  1916 


The  last  word  in  dancing  sounds  simple. 

Dancing  as  understood  by  lithe  and  laufehin^  Made- 
moiselle Sonia  Serova  su^^ests  a  whole  realm  of  Tcrp- 
sichores  as  yet  undiscovered  to  the  average  dancer— a 
world  of  nymph-women  and  faun-men  who  are  not 
ashamed  to  abandon  themselves  to  the  expression  of 
primitive  joy  and  exaltation  in  the  presence  of  nature 
to' dance  barefooted  and  untrammelled,  yet  in  obedience 
to  the  fi,reat  laws  of  rhythm,  alon^  the  margins  of  real 
brooks  that  mirror  their  flyinj^  forms,  or  on  hilltops  at 
dawn  to  ^reet  vHth  an  obeisance  the  rising  orb  of  the 
sun.  Mile.  Serova  has  nothing  but  contempt  for  the 
amateurish  running,  throwing  out  the  arms  and  J^ivinJ 
an  occasional  clumsy  leap  that  ^oes  under  the  name  of 
aesthetic  dancing.  That  it  takes  no  teachinji  to  do,  she 
admits,  but  adds  that  there  is  no  art  in  the  thin^  when 
done. 

A  graduate  of  the  severe  training  that  Russia  imposes 
on  all  who  hope  to  win  fame  as  danseurs  or  dansensts, 
she  naturally  despises  the  easily  acquired  and  meaning- 
less work  of  women  who  refuse  to  submit  to  any  sys- 
tematic training  at  all.  To  run  free  as  the  air  over  hill 
and  stream,  to  watch  pensively  one's  reflection  in  the 
dark  pool  made  by  the  mountain  stream  where  it  pauses 
to  rest  under  the  willows-  all  this  is  a  part  of  her  idea 
of  the  nature  dance. 

But  it  is  a  blissful  state  to  be  reached  only  after  training. 
No  figure  must  be  "improvised"  on  the  spur  of  the  mo- 
ment; the  dance,  however  unconventional  and  full  of  un- 
restrained joy  it  may  appear  to  the  spectator,  must  be 
carefully  studied  and  thought  out  beforehand,  for  only  in 
that  way  can  it  escape  amateurish  futility  and  rise  to 
the  domain  of  real  art. 

Just  as  the  training  of  the  Russian  ballet  afforded 
Serova  the  technical  groundwork  of  her  art,  so  the  vase 
paintings  of  ancient  Greece  were  her  inspiration  in  work- 
ing out  the  idea  of  the  Nature  Dance  which  she  thinks 
particularly  adapted  ;o  the  needs  of  the  American  public. 


It  was  in  the  dance,  purified  by  the  religious  idea 
behind  it  and  recognized  by  this  marvellous  race  as  a 
lofty  means  of  self-expression,  that  the  Greek  arrived  at 
a  very  high  form  of  art.  It  is  from  the  records  of  this 
art,  again,  that  Mile  Serova  has  derived  her  inspiration 
for  nature  dancing,  which  she  hopes  to  popularize  in 
America. 

ILLUSTRATES    SUN  WORSHIP. 

"Morning,"  for  example,  one  of  the  most  effective  of 
these  new  dances,  embodies  the  old  idea  of  the  worship 
of  the  sun.  The  dancer  sets  out  to  greet  the  sun  at  its 
rising,  and  on  the  way  goes  through  figures  and  steps 
which  indicate  the  mood  of  the  joyous  expectancy 
brought   about  by  the  anticipation  of  the  sunrise. 

Naturally  the  thing  is  done  out  of  doors.  Barefooted 
the  dancer  glides  over  the  dew-drenched  grass,  feeling  in 
the  slight  chill  of  the  summer  morning  an  exhileration 
that  lifts  up  the  spirit  until  it  is  in  a  mood  for  an  act  of 
worship,  and   urges  the  limbs  to  light  and  rapid  action. 

Toward  the  climax  of  the  dance  the  dancer  here  waits 
in  an  attitude  of  rapt  wonder  as  the  light  rapidly  bright- 
ens, the  mists  fall  away,  and  the  little  clouds  are  rimmed 
with  gold;  until,  at  the  last  glad  moment,  the  round  disk 
of  the  sun  itsel  f  shoots  up  above  the  horizon,  and  the 
dancer  greets  it  with  a  bow  of  "How  do  you  do?" 

Mile.  Serova  has  developed  a  series  of  15  short 
dances  which  are  entitled  "studies."  They  are  of  such 
nature  that  they  can  be  taught  easily  to  pupils,  and  in 
conjunction  with  the  studies  in  posing  and  proper  poise 
make  it  possible  for  a  pupil  to  go  ahead  and  develop 
new  dances  by  correct  methods  for  themselves. 

This  system  is  based  on  a  study  of  Greek  gymnastics 
and  Greek  games.  Poise,  development  of  grace  and  the 
like  are  prime  essentials.  Mile.  Serova  believes  that  such 
a  system  produces  tar  better  results  than  the  chaotic  in- 
struction in  "esthetic"  dancing  given  in  so  many  shools. 
The  pupil  has  something  definite  to  work  with— a  well 
planned  series  of  poses  and  studies  and  elementary  pan- 
tomine-  and  can  never  afterward  go  absolutely  wrong  in 
original  dancing 


RYTHMIC  WALKING  WITH  THE  SEVEN  POSITIONS 

The  study  of  slow  and  smooth  walking,  teaching  balance,  body  control  and  correct 
placing  of  the  feet. 


*. 


Tempa  <^/  mcf^C/G 


^ 


I 


^ 


m 


m 


s^ 


^ 


? 


^ 


t 


i 


* 


t 


^ 


$ 


h 


m^ 


F"r  a  ^  Uj-iri 


^m 


112- 


^ 


is- 


^ 


^ 


g 


p^ 


Stand  weight  on  R  foot,  L  foot  slightly  at  back. 

Walk  4  steps  to  measure,  one  step  to  each  count  very  smoothly  and  steadily,  taking 
the  following  positions  while  marching  and  holding  each  one  for  8  counts. 


Fig.  I  (1st  pos.) — Arms  in  Arabesque  (L  arm  for- 
ward), lead  bent  forward  slightly  over  L  shoulder, 
8  counts.  2  measures. 

Reverse  position,  8  counts,  2  measures. 


Fig  11.  (2(1  pos. J — R  arm  raised  above  uead,  palm 
turned  up  and  outwards,  L  arm  extended  to  side  palm 
upward.s,  head  turned  and  looking  up  to  R  hand,  8 
counts,  2  measures. 

Reverse  position,  8  counts,  2  measures. 


Fig.lIIa.  (3d  pos.back.) — Arms  stretched  out  at  back 
palms  down,  head  and  body  bent  slightly  forward, 
8  counts,  2  measures. 


Fig.  lllb  (3d  pos.  forward.) — Arms  forward  on  shoul- 
der level  side  by  side  palms  up,  elbows  a  trifle  bent, 
head  held  up  looking  straight  ahead,  8  counts,  2 
measures. 


Fig.  I V.  ( 4th  pos. )  —  L  arm  curved  over  breast,  L  hand 
touching  R  shoulder,  R  arm  straight  at  right  side 
slightly  back,  R  hand  parallel  to  ground,  head  over  R 
shoulder  looking  down  at  R  hand,  8  counts,  2  meas- 
lues.  Reverse  R  arm  over  breast,  L  arm  down,  look 
over  L  shoulder,  8  counts,  2  measures. 


Fig.  V.  (5th  pos.  -'The  Water  Carrier.")— The  R  hand 
holds  the  top  of  the  urn,  the  L  hand  supports  the  base, 
the  head  is  naturally  inclined  to  the  left,  as  it  would  be 
were  the  weight  on  the  R  shoulder,  8  counts,  2  meas- 
ures.    Reverse  position,  8  counts,  2  measures. 


v-^'«2 


THE  FUNERAL  POSITIONS 

Fig.  Via. — (6th  pos.  "Dejection"'). — R  arm  over  head, 
L  hand  rei-ting  on  back,  body  bent,  8  counts,  2  measures. 


Fig. VIb. — (6th  |(OS.  "Despair"). — R  arm  over  head, 
throw  up  L  arm,  hand  clenched,  8  counts,  2  measures. 


.%'. 


■*<»■ 


Fig.  Vila.    (7th   ims.    hovt). — Hands   folded  in  each 
other  low,  body  bent  forward,  8  counts,  2  measures. 


Fig.  Vllb.  (7th  pos.  Highl.  — Both  hands  raised,  head 
thrown  well  back, exaltation  e.\pressed  in  whole  figure, 
8  counts,  2  measures. 


2.     Swift  Walking 


Presto 


Swift  Walking 


SWIFT  WALKING 

Stand  weight  on  R  foot,  L  foot  at  back,  arms  in  Arabesque,  L  arm  forward,  R  arm 
back,  head  slightly  over  L  shoulder.  Walk  a  circle  moving  round  to  left,  2  steps  to 
each  count,  32  counts,  8  M  :  Turn  and  reversing  arms  making  the  Arabesque  with  the 
R  arm  forward,  walk  the  circle  round  to  the  right,  8  measures. 

This  walking  is  done  very  swiftly  and  smoothly,  and  can  also  be  taken  in  a  figure 
8,  making  the  change  of  arms  at  the  centre  of  the  figure  each  time.  For  position, 
refer  to  Fig.  I  of  Rythmic  Walking. 


3.     Running  Exercise 

Hunning  Sxercise 


\^\.\nTm 

m¥ 

6 

^^ 

tm 

^ 

^ 

-^ 

y-"^ 

T-H- 

¥¥¥ 

4-f     ? 

\ 

<■  villi '-ii 

BfiZ/a 

^ 

» 

Tk 

MM 

V 

■0 

.  — 1 1 — 

= 

u    ^  ' 

— 1 ■ 

•* 

1 

iij  f  r  |j'f  f  If  f  t^-^ 


^ 


^ 


RUNNING  PRACTICE 

Take  position  shown  in  Fig.  I  known  as  the  athletic  position  preparatory  to 
running  all  muscles  slack ;  straighten  up,  arms  extended,  palms  upwards,  and  run  on 
balls  of  the  feet  as  rapidly  and  as  smoothly  as  possible.  Note — This  practice  is  very 
essential  to  Nature  Dancing. 

When  running  in  u  small  space,  if  the  steps  are  very  small  and  close,  the  feet  just 
twinkling  past  each  other,  the  impression  of  covering  much  ground  with  great  rapidity 
is  given. 


'^'immm 


Fig.  I.     Preparatory  position 


14.     Exercise  for  Poise 


k 


M 


^ 


s 


m 


%^ 


^ 


a 


m 


f> 


•^*    » 


M 


^^m 


^mk 


^m 


m 


^m 


^ 


^^ 


lU: 


? 


M 


P 


4=^ 


f  f  ^<'} 


W 


fit 


^ 


a 


«-4 


^^ 


-M^ 


:fe 


^ 


1^ 


1^ 

Fig.  I. — Stand  weight  on  R  foot,  L  foot  at  back,  hands  held  low  in  front  and  rather  to  the 
right  side,  L  hand  crossed  over  R,  head  bent  over  R  shoulder. 

March  6  steps  beginning  L  foot,  1  step  to  each  count,  count  6.  Pause  on  6  on  R  foot  and 
rising  sharply  on  ball  of  same  ;  raise  L  leg,  knee  bent  on  level  with  hip,  arms  extended  on 
shoulder  level,  L  arm  forward,  R  arm  back,  head  well  up,  count  7. 

Fig.  II. — Sink  heel,  count  8,  2  measures;  repeat  8  measures,  then  reverse  whole  beginning 
with  R  foot,  pausing  on  L  foot  with  R  foot  raised,  8  measures. 


Fig.  I.— Walking  position,  hands  crossed. 


Fig.  II.     Poised  on  K  fool,  knee  slifl'. 


5.     Simple  Springing  Step 


k 


f0 


M 


M 


S 


^ 


^ 


i-^ -i    1  t± 


S 


% 


m 


n 


^^fe 


^ 


»i="» 


^ 


^ 


fe^ 


y 


/z 


2:;: 


^/ 


^ 


IIZM 


fc^ 


li  jijii 


\    g   f- 


^^ 


ff 


ft 


f 


P 


ff? 


r? 


^ 


"^^ 


^^ 


J3E 


^ 


5:^ 


)t  ^TV' 


ffl^ 


Beginning  with  the  R  foot  arms  extended  to  sides,  make  4  Grecian  "step  and  spring" 
R.  L.  R.L.  moving  forward,  lifting  the  leg  each  time,  with  bent  knee. 

Then  turn  in  place  round  to  the  right  with  4  Grecian  "step  and  spring"  R.  L.  R.  L. 

Raising  both  arms,  R  arm  higher  then  the  L,  and  looking  up  to  R  hand,  and  getting  a 
good  bend  in  the  back  as  the  turn  is  taken. 

Repeat  whole  4  steps  forward  and  4  turning  to  the  left,  this  time  looking  up  to  the 
L  hand. 

This  is  done  ad  lib.  3  counts,  1  measure  to  each  "step  and  spring."  Thus  the  whole 
exercise,  4  forward  and  4  turning  to  right,  4  forward  and  4  turning  to  left,  takes  16 
measures.  The  bending  of  the  body  on  the  turns  which  must  be  made  strictly  in  place  is  the 
feature  of  this  step. 


10 


6.     Leap  on  to  Foot 


LEAPING  ON   TO   THE   FOOT 

Make  2  Grecian  "step  and  springs"  R.  L.     Count  4,  1   measure. 

(Fig.  I.)     Little  runs  straight  forward.     Count  2,  half  measure.    (Note)  as  many  steps  as 
possible. 

Spring  forward  on  to  R  foot  landing  with  good  plie,  L  leg  extended  at  back,  touch  ground 
with  R  hand  in  front.     Count  3  (Fig.  XL) 

Straighten  R  knee  and  back  as  much  as  possible,  raising  R  hand,  head  thrown  well  back. 
Count  4,  2  measures;  2  measures  in  all  (Fig.  IIL) 

Repeat  ad  lib. 

Note — Spring  as  far  forward  as  possible,  and  the  more  plie  of  the  knee  you  land  with,  the 
easier  it  is  to  bend  forward  and  straighten  up  afterwards. 

Reverse  by  beginning  with  L  fool,  small  runs  and  spring  on  L  foot. 


11 


Fig.  I  — Shows  the  spring  forward  on  to  the  R  foot. 


Fig.  II. — Shows  landing  with  good  plie  and  bending 
forward  to  ground  immediately. 


Fig.  III.  — Shows  straigbteuings  up  and  holding  position. 


12 


Seap  up  off  both  feet. 


-^/<? //a.  araz /oso 


Begin  exactly  as  in  the  previous  exercise,  counting  6  for  the  "step  and  springs" 
and  3  for    he  runs  forward. 

Then  spring  both  feet  together,  with  a  small  plie  (Fig.  I.)  and  spring  up  as  high  as 
possible  off  both  feet  (Fig.  II. )  landing  on  R  foot  (with  plie),  L  foot  extended  at  back. 

As  the  spring  is  made,  both  arms  are  raised,  R  arm  forward  and  L  arm  at  back 
(they  are  more  or  less  flung  up)  3  counts,  4  measures. 

Reverse,  beginning  on  L  foot.  It  is  the  plie  with  both  feet  together  that  gives 
the  elevation  for  the  spring'up. 


A.S3^ 

'  » 

■  ^^^.^flft^^^H 

Fig.    I. — Showing    feet    jumped,   together    tvith   plie 
preparatory  to  spring  up. 


Fig.    II.— Showing  the  spring  up. 


13 


8.     (a)  Leap  up  off  Foot  and  Valse 


i^ 


dolce 


?23 


fH^ 


-p—w 


^ 


^ 


^ 


* 


* 


^ 


^ 


de 


^ 


/.J.J  Jit 


nr 


\\z. 


m 


^ 


ii 


i 


Zlli 


«!■• 


w 


i 


P 


^ 


LEAPING  UP  OFF  FOOT  AND  VALSE 

Stand  weight  on  L  foot,  step  on  R  and  make  big  leap  or  spring  straight  up  in  place  raising  L  knee  on  level  with 
hip,  head  thrown  back,  L  arm  stretched  straight  forward,  R  arm  straight  back  on  shoulder  level  (Fig.  I.)  land  on  R  foot 
with  plie,  3  counts,  1  measure. 

One  valse  straight  forward  with  L  foot,  3  counts,  1  measure.     Repeat  ad  lib.  and  reverse. 

Note — The  spring  should  be  taken  strictly  in  place  and  the  advance  is  made  with  the  straight  valse. 


Fig.  I — Shows  the  leap  or  spring  up  in  place 


14 


9.     Leap  up,  Valse,  Turn  and  Bend 


^^Si^^l 


LEAP  UP,  VALSE  AND  TURNS 
Leap  up  and  valse  twice  as  in  former  exercise.  4  measures.  Then  step  forward  on  R  in  line  of  direction  and 
make  a  Yz  back  turn  placing  L  foot  behind  R,  touch  ground  in  front  with  R  hand,  and  throw  body  back,  knees 
slightly  bent,  R  heel  just  off  ground,  R  hand  over  head  (Fig.  I.)  6  counts,  2  measures.  Transfer  weight  forward 
onto  R  foot.  Step  forward  with  L  foot  and  make  '/i  back  turn  placing  R  foot  behind  L.  Touch  ground  with  L 
hand  and  throw  body  back  in  same  manner.     6  counts.     2  measures.     Repeat  ad  lib. 


Showing  bend  or  llirow-back  of  body  alter  '/z  turn 


15 


10.      The  Grecian  Pivot 

Moderate 


m 


1 


f 


E* 


i 


^ 


m 


m 


* 


sempre  ptu 


m 


F^i  vP 


[7yi  ^P 


^^ 


^mJ' 


S 


^^ 


^ 


adagio 


wm 


m0^ 


wm 


m 


^m 


f 


*■-•■ 


m 


i 


fif=r 


i 


221 


i 


^ 


^ 


s>- 


^' 


m 


i 


** 


^ 


^^ 


m 


zt 


10.— Make  2  straight  running  valses  forward,  R  foot  then  L  foot,  the  arms  swaying  slightly  to  R  on  first  valse. 
then  to  the  L,  2  measures;  step  on  R  foot  and  with  a  good  swing  off  the  shoulders  and  body,  rise  on  the  ball  of  the 
foot  and  pivot  round  to  the  riphl.  the  L  knee  raised  high  on  hip  level,  arms  oat  to  side*  on  level  with  shoulders,  palms 
up.  On  completing  pivot,  sink  R  heel  2  measures.  (Note).  Be  sure  to  keep  the  L  knee  on  hip  level  and  L  foot  in 
position.     Reverse  and  re]>tat  ad  lib. 

11.     The  Poses 


/fa/i'a  fifod^o 


i 


fc 


3 


i^ 


» 


i 


im 


** 


-t-*- 


Jzt 


^ 


^ 


-&■ 


^ 


i 


.16 


1    g^^i-    ,iii  J^^i.JSi  I 


NOTE. — These  poses  are  held  perfectly  still,  4  measures  each,  and  must  go  in  succession  without  pause  between 
them.  Change  easily  from  one  to  the  other ;  the  changing  usually  takes  about  3  counts,  1  measure,  and  the 
pose  is  held  quite  still  for  the  following  9  counts,  3  measures. 


Fig.  I. — Stand  weight  on  L  foot,  R  foot  at  back, 
R  arm  raised  above  head,  palm  inwards;  L  arm  ex- 
tended to  fide  shoulder  level,  palm  upwards;  look 
up  to  R  hand. 


Fig.  II. — Turn  to  face  right,  stepping  with  and  trans- 
ferring weight  on  to  R  foot ;  raise  L  knee  bent  on  level 
with  hip,  R  arm  extended  forwards,  L  arm  back  oa 
shoulder  level,  head  bent  forward, 


17 


Fig.  III. — Slide  forward  and  stand  weight  on  L  foot, 
R  foot  back,  arms  stretched  forward,  hands  folded 
over  one  another,  body  inclined  forward,  look  at 
bauds. 


^  "Wr  vWy! 


Fig.  IV. — Keeping  weight  on  L  foot,  make  a  one-half 
pivot  so  as  to  face  left,  R  foot  at  back,  R  arm  stretched 
down  at  back,  L  arm  stretched  straight  up,  body  bent 
back,  look  up  at  L  hand. 


Fig.  V. — Step  forward  and  slightly  to  face  front  again, 
stand  weight  on  R  fool,  both  knees  slightly  bent,  arms 
crossed  over  breast,  body  and  head  inclined  to 
right. 


Fig.  VI. — Step  forward  and  stand  weight  on  L,  crouch 
low  both  knees  very  bent,  hands  folded  one  in  the 
other  (back  of  R  hand  resting  in  palm  of  L),  low  in 
front. 


18 


Fig.  VII. — Rising  step  and  transfer  weight  on  to  R 
foot,  passing  L  foot  behind  on  half  toe,  body  inclined 
slightly  backwards  and  to  the  right,  R  hand  over  head, 
L  hand  stretched  up. 


Fig.  VIII. — Step  back  on  L  foot,  cr<iss  R  foot  over 
with  one-half  turn  and  tram^fer  weight  on  to  it,  so  that 
back  is  now  to  audience,  R  arm  stretched  down  at  back, 
L  arm  straight  up  ;  look  over  R  shoulder. 


12.     Dramatic  Poses 


s 


r\ 


>■   >- 


^ 


p    rit 


/?r- 


4= 


? 


a  tempo 


w 


f^ 


m 


m 


^^ 


^ 


m 


m 


19 


PRliSENTATION. 
Fig.  I. — Stand   in   Side  Arabasque    position,  weight 
on  L  foot,  R  foot  extended  to    side,    looking    to    left, 
both  hands  extended  palms  up  to  right  on  a  line  with 
the  waist. 


FEAR. 
Fig.   II. — Reverse    Arabasque    throwing    all    weight 
on  to  R  foot,  L  arm  extended  as  if  to  ward  off  something, 
back  of  R  hand  against  L  cheek. 


DEFIANCE. 
Fig.  III. — .Arabasque    straight    forward    on    L    foot, 
body  erect,  head  thrown  back,  both  arms  back,  hands 
clenched. 


DEFENSE. 
Fig.  IV.  —  Throw    weight    back    on     R     foot,    body 
inclined  backwards,  both  knees  bent,  L  arm  raised  and 
curved  as  if  to  shelter   head,   hand   clenched  R  arm 
stretched  at  back  hand  clenched. 


30 


RESIGNATION. 
Fig.  V. — Step  forward  weight  on  L  foot,  R  foot  at  back 
arms  forward  low,  L  wrist  resting  on  R  wrist,  head  bent 
forward. 


GRIEF. 
Fig.  VIk— Step  forward  with  R  foot  and  kneel  on  L 
knee,  L  arm  hanging  down,  R  arm  propped  on  R  knee, 
head  resting  in  palm  of  R  hand,  eyes  closed. 


*  1            *        • 

^M 

M| 

llUl'K. 
Fig.  VII. — Rise  and  stand   weight  on  R  foot,  L  foot 
back,  R  arm  raised  as  if  pointing  to  the  clouds,  L  arm 
extended  to  side,  palm  up,  face  looking  upwards. 


MEDITATION. 
Fig.  VIII. — Step    forward    and    stand   on   L  foot,   R 
foot  at  back,  L  hand  resting  on  head,  R  hand  resting 
on  the  upper  part  of  L  arm,  head  slightly  bent  as  if  in 
thought. 


21 


Grecian  Ball  Exercises 


NOTE.  — The  foUowing  Simple  Ball 
Exercises  are  arranged  to  give  the  student 
a  knowledge  of  the  different  methods  of 
throwing  the  ball,  and  are  necessary  for 
the  study  of  the  Grecian  Ball  Game. 


m 


0  r  19 


m 


m 


^s 


I 


22 


/ 


/ 


4?    ca77    7 


^erfif-men/a 


^^ 


^ 


:f^ 


m 


M 


i 


i 


P 


i 


F 


^ 


y'    V 


w 


? 


^ 


fe! 


S 


rffe 


/ 


^ 


'')\\'  J  Tt 


14 


i 


m 


u^ 


t 


f^ 


OeSiy? 


^^^ 


S 


P 


^ 


^ 


■^    \ 


m 


-ai 


^^ 


W^ 


li^ 


I 


^ 


^ 


P 


m 


^ 


i 


^ 


^i^ 


^ 


^^=P= 


fe^ii; 


5^ 


^5^ 


i=* 


K 


S 


M 


m 


M 


m 


m 


i 


BA 


g 


M 


iii 


i 


5 


^ 


i 


hp-^   ,h 


^  tempo 


^ 


2g: 


^ 


^ 


i 


i 


^ 


^^ 


i 


to 


10  Tit 


^ 
^ 


Hi 


Mi 


2: 


S 


22 


1.— PLAIN  CIRCLE. 

16  measures,  1  M  to  each  throw ;  1  M  to  each  catch. 

Stand  firmly  on  both  feet  and  make  a  circle  with  arms,  throwing  ball  straight  up  and 
catching  in  either  or  both  hands  above  head.  Note. — In  throwing  ball  always  run  it  off 
fingers  so  that  it  spins  through  the  air ;  in  catching  ball  always  do  so  fingers  well  spread 
and  wrist  loose. 

2.— ADVANCE  WITH  REVERENCE  AND  ARABESQUE. 

16  measures,  1  M  to  Reverence ;    1  M  to  Arabesque. 

Stand  weight  on  both  feet ;  slide  forward  with  reverence  on  R  foot,  transferring  weight  on 
to  it ;  throw  ball  up  and  catch  it.  Step  forward  and  slightly  across  R  with  L  foot,  trans- 
ferring weight  on  to  it,  arms  outstretched  in  Arabesque  position  (4  times).  Step  back 
with  reverence  with  R  foot,  transferring  weight  on  to  it ;  throw  ball  up  and  catch, 
straightening  knees.  Still  keeping  weight  on  R  foot,  place  L  foot  back  in  4th  anterior 
and  take  Arabesque  position  with  arms.  Repeat,  transferring  weight  back  with  reverence 
on  to  L  foot  (4  times) . 

3._0VER  CIRCLE. 

16  measures,  1  M  to  circle  of  arms;  1  M  position. 

Stand  weight  on  both  feet,  raise  hands  in  5th,  make  a  circle  crossing  arms  and  bringing 
them  down  and  up  round  to  4th  position ;  when  hands  reach  4th,  throw  up  and  over  from 
right  and  catch  in  L  hand.  Make  half  turn  to  right,  rising  on  ball  of  R  foot,  L  knee 
drawn  up  sharply,  arms  making  circle  over  and  finishing  in  Arabesque.  Drop  L  foot 
to  ground  again  and  resume  1st  position ;  reverse,  throwing  ball  from  L  to  R  hand  and 
rising  on  ball  of  L  foot.     Repeat. 

4.— BOUNCE   AND   RUN    (16  Measures). 

Stand  weight  on  both  feet,  bounce  ball  on  ground,  1  measure ;  catch  and  raise  on  balls  of 
feet,  hands  back  of  head,  1  measure.  Spring  off  L  foot  and  run  forward,  1  measure. 
Kneel  on  L  knee,  arms  Arabesque,  1  measure.  Repeat,  running  backwards  and  kneeling 
on  R  knee,  4  measures.     Repeat  forward  and  back  again. 

5.— UNDER-ARM  WALK  AND  BEND  (16  measures). 

Stand  weight  on  L  foot,  R  foot  back  in  4th  L  arm  raised,  body  inclined  to  right. 
Throw  ball  up  outside  L  arm  and  catch  on  inside,  1  measure.  Keeping  L  arm  raised, 
bend  body  to  left  and  bounce  ball  over  L  arm,  1  measure ;  walk  forward  2  steps,  R  L, 
stand  weight  on  L  foot,  pointing  R  foot,  1  measure.  Bend  down  and  touch  R  hand  to  R 
foot,  then  point  R  foot  back  in  4th,  straightening  body  up  and  bending  backwards,  R  arm 
raising  to  5th  position,  1  measure.  Repeat  twice.  Transfer  weight  back  on  to  R  foot, 
leaving  L  foot  in  4th  forward ;  bend,  touching  L  hand  to  L  foot ;  straighten  body,  placing 
L  foot  back  in  4th,  1  measure.  Repeat,  transferring  back  on  L,  1  measure,  on  R,  1 
measure,  and  again  on  L,  1  measure. 

6— BOUNCE,  ARABESQUE  AND  CIRCLE  WALK  (16  measures). 

Stand  on  R  foot  slightly  facing  right,  L  foot  raised  in  4th  back;  bend  and  bounce  ball 
and  catch,  ]  measure.  Turn  sharply  to  face  left,  dropping  forward  all  weight  on  L  foot, 
L  knee  bent,  R  foot  stretched  out  at  back,  arms  Arabesque,  1  measure.  Walk  round  in 
circle  to  left,  2  measures.  Repeat,  standing  weight  on  L  foot,  ditto  on  R  foot,  ditto  on 
L  foot.  *" 


23 


INTERPRETATIVE  NATURE  STUDIES  "IN  ARCADY" 

NOTE. — Each  of  lliese  short  Studies  is  a  condensed  idea,  so  arranged  that   the  student  really 
expresses  something  definite,  and  from  each  one  it  is  possihle  to  enlarge  and  create  a  whole  solo. 


TTlormng. 


8   .'^^° 


r'rYf^  ^  ^'r    if'rTr  r'^"^ 


^a 


S 


^^ 


^ 


# 


i 


^ 


^ 


I 


i 


f 


zz 


^w 


E5 


g 


ro// 

'MA 


^ 


MORNING 

Stand  weight  on  L  foot,  hands  held  together  against  L  shoulder;  raise  R  arm  (Fig.  I.)  and 
let  it  sink  as  if  stretching;  count  6,  2  measures.  Walk  forward  2  steps  and  stretch  with  both 
arms,  letting  them  remain  outstretched  as  if  glad  to  be  awake  again ;  count  6,  2  measures. 
Make  one  step  to  left  with  R  foot,  hands  folded.  (Fig.  IT.)  step  on  L  foot  and  sink  looking  at 
flowers  (^Fig.  III.)  6  counts,  2  measures.  Spin  on  balls  of  feet,  arms  stretched  up  and  out  as 
if  enjoying  the  sunlight,  count  3,  1  measure  ;  run  round  to  L,  6  counts,  2  measures,  8  measures. 

Repeat  first  4  measures  as  described,  but  take  it  a  trifle  more  quickly  and  walking  3  steps 
forward  R  L  R.  Then  putting  weight  on  L  foot  listen  to  bird  singing  (Fig.  IV.)  L  hand  to  L  ear, 
and  looking  round  point  to  right  with  R  hand  as  if  catching  sight  of  bird ;  count  3,  1    measure. 

Run  to  right  and  hold  hands  up  to  bird  as  if  delighted,  count  3,  1  measure.  (Slight  drag 
here  in  the  music).  Turn  suddenly  and  as  if  filled  with  the  joy  of  life,  dance  round  to  left  with 
"step  and  spring,"  (3-time)  L  R  L;  count  3,  1  measure.  (Music  faster).  Spin  on  balls  of  feet 
and  finish  (Fig.  V.)  weight  even  on  both  feet,  arms  stretched  out,  head  thrown  back;  count  3, 
1  measure,  8  measures,  16  measures  in  all. 


Hfi.  III.      l>(i<pk'nf;;it  the  I'lnwers. 


Fig.  IV.— Listening  to  BirU. 


Fig.  V. — The  Welcome  to  the  Morning  Son. 


25 


Jhc  '^rook. 


Sva 


^^m 


t 


t  g  iJ^.".rf 


£ 


S 


Jjf/le^ro 


ag 


I 


^ 


;f/o;« 


I 


f 


"Step  and  spring"  (looking  down  into  water  small)  R  L,  and  run  to  the  right  and  pause  on  R 
foot,  L  foot  at  back,  R  arm  raised,  head  thrown  back  (Fig.  I.)  6  counts,  2  measures.  Repeat 
back  to  left,  beginning  L  foot. 

Make  2  more  "step  and  spring"  (big)  R  L,  moving  to  right  again,  one  turn  to  right  and 
stand  leaning  forward,  weight  on  L  foot,  L  arm  stretched  forward,  R  arm  backwards,  looking 
down  into  the  water  (Fig  II.)  6  counts,  2  measures.  Pantomime  with  right  hand  pointing  up 
"the  sky,"  pointing  down  "is  seen  in  the  water,"  draw  back  as  if  pleased  (Fig.  III.)  6  counts, 
2  measures.  Kneel  down  and  stoop,  cupping  both  hands  and  raise  them  to  mouth  as  if  drinking 
twice,  12  counts,  4  measures  (Fig.  IV.)  Rise  and  standing  weight  on  R  foot,  look  at  own  reflec- 
tion in  the  water  expressing  satisfaction  (Fig.  V.)  Transfer  weight  on  to  L  foot  a  little  forward, 
blow  a  kiss  to  reflection  with  L  hand;  6  counts,  2  measures.  Step  slightly  back  on  R  foot,  then 
forward  again  on  L  preparing  to.  jump,  2  counts.  Jump  over  brook — jumping  with  R  foot, 
(Fig.  VI.)  and  landing  with  both  feet — on  3rd  count,  1  measure.  Run  forward  and  take  position 
on  R  foot  facing  right,  L  knee  drawn  up  on  level  with  hip,  arms  stretched  out,  L  arm  forward, 
R  arm  back,  head  thrown  back  (Fig.  VII.)  3  counts,  1  measure.     16  measures  in  all. 


Fig.  I — Pausing  on  R  Foot 


Fig.  II— Looking  in  Water 


26 


H^^HHHPPHrT^fl 

jjM 

1 

i^^^^^^H^L  n  u 

^ 

Fig.  III. —  Watching  reflection  ol  sky  in  water. 


Fig.  IV. —Drinking. 


Fig.  VL — Jumping  over  brook. 


Fig.  VII. — Last  position. 


27. 


10.     Marguerites 


MARGUERITES 
With  hands  low,  balance  forward  on  R  foot.  Fig.  I,  and  back  on  L.    Count  6,    2  measures- 
One  valse  turn  to  right  and  fling  both  hands  up  over  head  as  if  playing.  Fig.  II.,  6  counts- 

2  measures. 

Action  of  looking  right  and  left.  Fig.  Ill,  as  if  undecided  which  flower  to  pick.  6 
counts,  2  measures. 

Run  to  right  and  kneel  on  R  knee.    Count  6,    2  measures. 

With  R   hand   pick  3    imaginary  Marguerites  placing  them  each  in  L    hand.    Fig.    IV., 

3  measures. 

Rise  with  weight  on  L  foot  and  bend  back  raising  flowers  1o  face,  1  measure. 

Step  forward  on  R  foot  and  bending  slightly  forward  pull  one  imaginery  petal  "He  loves 
me."    Fig.  V.,  1  measure. 

Step  on  L  foot  and  pull  second  petal,  "He  loves  me  not."     1  measure. 

Step  on  R  foot  and  pull  3  petals  in  quick  succession:  "He  loves  me,  he  loves  me  not, 
he  loves  me."     1  measure. 

Throw  Marguerites  away  over  head  wilh  action  of  pleasure.     Fig.  VI. 


Fig.  I — Swinging  Carelessly  Forward 


Fig  II— Valsing  Turn  (I'laylul) 


28 


Fijr.  III. — Looking  at  flower  undecided. 


Fig.  IV.— Picking  Marguerites. 


Fig.  V. — He  loveS  nie— He  loves  me  not. 

"Butternies. 


Fig.  VI.— Throwing  flower  away.— Joy— He  loves  me. 


i 


0~  0- 


i 


iffi 


P 


Ik 


^ 
^ 


^ 


W^^ 


f 


i 


^ 


^ 


* 


29 


1^^ 


i 


I 


£ 


^ 


Beginning  R  foot  make  2  "step  and  spring"  twice,  dancing  lightly  and  carelessly,  count  6,  2  measure!:. 

Run  to  right  and  leaning  forward  weight  on  R  foot,  endeavour  to  catch  Butterfly  with  backward  movement  of 
R  hand.  Fig.  I.,  count  6,  2  measures.  Show  with  slight  gesture  Butterfly  not  caught,  and  catching  sight  of  it  over  L 
shoulder,  dance  2  "step  and  springs"  L  R  count  6,  2  measures.  Run  across  to  left  and  spring  up  off  both  leet  trying 
to  catch  it,  count  6,  Fig.  II.,  2  measures. 

Having  lost  Butterfly  again,  run  after  it  with  small  steps  in  big  circle  round  to  right.  Fig.  III.,  12  counts,  4 
measures. 

Catching  Butterfly  between  both  hands  on  last  beat  of  these  4  measures,  Fig.  IV.,  run  backwards  on  balls  of  feet 
down  to  right  corner,  keeping  hands  together.  Fig.  V.,  count  6,  2  measures. 

Turn  on  balls  of  feet,  slop  facing  front  and  slightly  separate  hands,  as  if  to  look  at  Butterfly,  show  by  little 
gesture  of  hands  and  expression  of  disappointment  that  it  escapes.  Fig.  VI.,  count  6,  2  measures. 


Fig.  I.— First  attempt  to  catch  Butterfly  R  hand. 


Fig.    II.- 
spring  up. 


-Second    attempt   to    catch   Butterfly    with 


30 


• 

•»fS 

1 

1 

HiSi 

:-^'.yj^^  ■    • 

' '  ^^p>^^-' 

"^ 

^^m 

' '     V 

■'A;.,: 

ii,,.,    SB^. 

J^H 

B*r^ : 

r         4 

— 

Fig.  V. — Running  backwards  with  captured  Butterfly 
in  hands. 


12.     Evening. 


Fig.  IV.  -Caught. 


W 


.- —  # 


^ 


Fig.  Vi. —  I'he  treasure  escapes. 


'L.  I  f  F  r  7T]  J5 


->^ 


^ 


cresc. 


'^B.  \V  r^'U 


rP  rf'.U 


31 


Beginning  with  R  foot,  walk  to  right  7  steps  and  pause  weight  on  R  foot,  make  a  gesture  as 
if  of  "Farewell"  with  R  hand  (Fig.  I.)  1  measure;  Walk  over  to  left  and  making  gesture  with 
L  hand,  1  measure ;  turn  in  place  round  to  right  with  4  steps  R  L  R,  hands  lazily  clasped  behind 
head  as  if  tired  (Fig.  II.)  1  measure.  Facing  front  weight  on  R  foot,  "Pantomime  I."  (touching 
self  with  R  hand)  "Home,"  pointing  to  left  with  L  hand,  "will  sleep,"  folding  both  hands  under 
R  cheek  and  resting  head  on  them  (Fig.  III.)  1  measure.  Repeat  first  part,  walking  to  right  and 
to  left,  2  measures.  Walk  back  3  steps  R  L  R,  arms  outstretched,  with  action  of  "Farewell," 
1  measure;  run  forward  and  rising  on  balls  of  feet  (Fig.  IV.)  stretch  arms  up  as  if  to  the  last 
rays  of  the  setting  sun,  7  counts,  then  sink  slowly  down  on  to  L  knee,  sheltering  head  in  arms  as 
if  in  prayer  (Fig.  V.)  8th  and  9th  counts,  1  measure;  8  measures  in  all. 


Fig.  I. — First  Gesture  of  Farewell. 


Fig.  U.— Tired. 


82 


Kig.  Ill— "I  Would  Sleep' 


Fig.  IV — Good-night  to  the  Sun 


Fig.  V     Prayer 


NOTE 

The  "Grecian  Ball  Game,"  "Five  More  Nature  Studies,"  a  set  of  ^'Historic 
Interpretations"  and  several  Dances  will  be  published  shortly  in  Book  I  orm  with  Music 
and  Photographs. 


li 


.INIV.OFCAI 


,F  UBRARY.  LOS  ANGELfeb 


Univefsilv  ot  Caltlorma,  Lu5  Angeles 


L  007  142  881   7 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


D    001  051  485    9 


